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aed 5
EGYPTIAN DECORATIVE ART
EGYPTIAN
PeCORATIVE ART
A GOSRSE OF LECTURES
THE ROYAL INSTITUTION
W.-M; FLINDERS PETRIE; -D.C.L.
EDWARDS PROFESSOR OF EGYPTOLOGY, UNIVERSITY
COLLEGE, LONDON
METHUEN & CO.
360 ESSEX STREET, W.C.
LONDON
1895
CONTENTS
CHAPTER I
SOURCES OF DECORATION
EGYPTIAN TASTE FOR DECORATION
DECORATIVE WRITING OF HIEROGLYPHS
ORIGIN OF PATTERNS
PROBABILITY OF COPYING
GEOMETRICAL ORNAMENT
NATURAL ORNAMENT
STRUCTURAL ORNAMENT
SYMBOLIC ORNAMENT
CHAPTER I
GEOMETRICAL DECORATION
THE LINE AND ZIGZAG
THE SPOT
12
15
vi CONTENTS
SEE: SW cANV-E:
THE SPIRAL.
THE CONTINUOUS SPIRAL
SPIRAL SURFACE PATTERNS
QUADRUPLE SPIRALS
FRETS .« . .
GREEK SPIRALS
SPIRAL BORDERS
CHEQUERS
STITCH PATTERNS ° : . :
CIRCLES . . . ° .
CHAPTER UII
NATURAL DECORATION
FEATHERS
ROSETTES
DISC AND SPOT PATTERNS
LOTUS FLOWER
LOTUS BORDERS
LOTUS PLANT
LOTUS DEVELOPMENT . . .
LOTUS, ASSYRIAN AND GREEK
LOTUS. WITH PENDANT
PAPYRUS ° . . ° .
LOTUS AND PAPYRUS COLUMNS . .
—_—_———.
THE
403 Oo
THE
THE
CONTENTS
PALM
VINE
CONVOLVULUS
THISTLE
GARLANDS
CAPTIVES
“esd. O32 .C A
BIRDS
STARS . ° °
GRAINING AND MARBLING
CHAPTER -1V:
SLTRUCTOURAL DECORATION
STRUCTURAL FORMS SURVIVING
ROPE PATTERN
BASKET-WORK
WOODEN FRAMING
PANELLING
SLOPING WALLS
TORUS ROLL.
PALM CORNICE
PAPYRUS CORNICE
BINDING PATTERNS
Vili
THE
AVEDE
THE
DEE
PELE
THE
sUs0o
THE
THE
CONTENTS
CHAP EER W
SYMBOLIC DECORA ION
URAEUS . ° : °
DISC AND WINGS .
HORNS . 5 . 5 .
VULTURE
SCARAB
LION
GODDESS MAAT
GODDESS HATHOR. . . .
GOD BES .
HIEROGLYPH SYMBOLS
CAPAEVIES ° . . ° .
INDEX , : , : :
ABBREVIATIONS
C. M. Champollion, Monuments.
Duem. Duemichen Hist. Inschr.
F. P. coll. Flinders Petrie collection.
Goodyear. Grammar of the lotus.
H.S. Historical Scarabs (Petrie).
I. Illahun (Petrie).
Kk. Kahun (Petrie).
L. D. Lepsius Denkmaler.
P. and C. Perrot and Chipiez, Egypt.
P.and C. Ass. Perrot and Chipiez, Assyria.
P. J. Petrie, Illahun.
P.M. Petrie, Medum.
Pp; ( Prisse, Art; numbers refer to numbering in Edwards
Prisse. ( Library copy, plates being issued unnumbered.
P. Mon. Prisse, Monuments.
R. C. Rosellini, Mon. Civili.
R. S. Rosellini, Mon. Storici.
Schuck. Schuckhardt’s, Schliemann.
T. A. Tell el Amarna (Petrie).
Tanis. Tanis (Petrie).
W. M.C. Wilkinson, Manners and Customs.
’ The shading of the figures is according to heraldic colours :
| red, = blue, \ green, / purple, # yellow.
CHAPPTER I
THE SOURCES OF DECORATION
N dealing with the subject of decorative
art in Egypt, it is needful to begin by
setting some bounds to a study which might
be made to embrace almost every example of
ancient work known to us in that land. The
Egyptian treatment of everything great and
small was so strongly decorative that it is
hard to exclude an overwhelming variety of
considerations. But here it is proposed to
limit our view to the historical development
of the various motives or elements of deco-
ration. The larger questions of the esthetic
scheme of design, of the meaning of orna-
2
2 EGYPTIAN DECORATIVE ART
ment—symbolic or religious, of the value
and effect of colour, of the relations of parts,
we can but glance at occasionally in passing ;
in another branch, the historical connection
of Egyptian design with that of other coun-
tries, the prospect is so tempting and so
valuable, that we may linger a little at each
of these bye-ways to note where the turning
occurs and to what it leads. As I have said,
all Egyptian design was strongly decorative.
The love of form and of drawing was per-
haps a greater force with the Egyptians than
with any other people. The early Baby-
lonians and the Chinese had, like the Egyp-
tians, a pictorial writing; but step by step
they soon dropped the picture altogether
in favour of the easier abbreviation of it.
The Egyptian, on the contrary, never lost
sight of his original picture; and however
much his current hand altered, yet for four
or five thousand years he still maintained his
THE SOURCES OF DECORATION 3
true hieroglyphic pictures. They were modi-
fied by taste and fashion, even in some cases
their origin was forgotten, yet the artistic
form was there to the very end.
But the hieroglyphs were not only a
writing, they were a decoration in them-
selves. Their position was ruled by their
effect as a frieze, like the beautiful tile
borders of Cufic inscription on Arab archi-
tecture; and we never see in Egypt the
barbarous cutting of an inscription across
figure sculptures as is so common in Assyria.
The arrangement of the groups of hiero-
glyphs was also ruled by their decorative
effect. Signs were often transposed in order
to group them more harmoniously together
in a graceful scheme ; and many sounds had
two different signs, one tall, another wide,
which could be used indifferently (at least in
later times) so as to combine better with the
forms which adjoined them. In short, the
4 EGYPTIAN DECORATIVE ART
Egyptian with true decorative instinct clung
to his pictorial writing, modified it to adapt
it to his designs, and was rewarded by having
the most beautiful writing that ever existed,
and one which excited and gave scope to his
artistic tastes on every monument. This is
but one illustration of the inherent power
for design and decoration which made the
Egyptian the father of the world’s orna-
ment.
In other directions we see the same
ability. In the adaptation of the scenes of
peace or of war to the gigantic wall surfaces
of the pylons and temples; in the grand
situations chosen for the buildings, from the
platform of cliffs for the pyramids at Gizeh,
to the graceful island of Phila; in the pro-
fusion of ornament on the small objects of
daily life, which yet never appear inappro-
priate until a debased period ;—in all these
different manners the Egyptian showed a
THE SOURCES.OF DECORATION: 6
variety of capacity in design and decoration
which has not been exceeded by any other
people.
The question of the origination of patterns
at one or more centres has been as disputed
as the origination of man himself from one
or more stocks. Probably some patterns
may have been re-invented in different ages
and countries ; but, as yet, we have far less
evidence of re-invention than. we have of
copying. It is easy to pre-suppose a repeated
invention of designs, but we are concerned
with what has been, and not with what might
have been. Practically it is very difficult, or
almost impossible, to point out decoration
which is proved to have originated inde-
pendently, and not to have been copied from
the Egyptian stock. The influences of the
6 EGYPTIAN DECORATIVE ART
modes of work in weaving and basket-work
have had much to do with the uniformity of
patterns in different countries ; apparently
starting from different motives, the patterns
when subject to the same structural influ-
ences have resulted in very similar orna-
ments. This complicates the question un-
doubtedly ; and until we have much more
research on the history of design, and an
abundance of dated examples, it will be
unsafe to dogmatise one way or the other.
So far, however, as evidence at present goes,
it may be said that—in the Old World at
least—there is a presumption that all the
ornament of the types of Egyptian designs is
lineally descended from those designs. Mr.
Goodyear has brought so much evidence for
this, that—whether we agree with all his
views or not—his facts are reasonably con-
vincing on the general descent of classic
ornament from Egyptian, and of Indian and
THE SOURCES OF DECORATION 7
Mohammedan from the classical, and even of
Eastern Asian design from the Moham-
medan sources. A good illustration of the
penetrating effect of design is seen in a most
interesting work on the prehistoric bronzes of
Minusinsk in Central Asia, near the sources
of the Yenesei river, and equidistant from
Russia and from China, from the Arctic
Ocean and from the Bay of Bengal. Here
in the very heart of Asia we might look for
some original design. But yet it is easy to
see the mingled influences of the surrounding
lands, and to lay one’s finger on one thing
that might be Norse, on another that might
be Chinese, or another Persian. If, then, the
tastes of countries distant one or two thousand
miles in different directions can be seen
moulding an art across half a continent, how
much more readily can we credit the descent
of design along the well-known historical
lines of intercourse. The same thing on a
8 EGYPTIAN DECORATIVE ART
lesser scale is seen in the recent publication
of the prehistoric bronzes of Upper Bavaria ;
in these the designs are partly Italic, partly
Mykenaean. If forms were readily re-in-
vented again and again independently, why
should we not find in Bavaria some of the
Persian or Chinese types? Nothing of the
kind is seen, but the forms and decoration
are distinctly those of the two countries from
which the ancient makers presumably obtained
their arts and civilisation. Yet again, to come
to historical times, the elegant use of the
angle of a third of a right angle so generally
in Arab art, is very distinct and characteristic.
Yet if patterns were continually re-invented,
how is it that no one else hit on this simple
element for thousands of years? The very
fact that the locality and date of an object of
unknown origin can be so closely predicted
by its style and feeling in design, is the best
proof how continuous is the history and evo-
THE SOURCES OF DECORATION 9
lution of ornament, and how little new inven-
tion has to do with it—in short, how difficult
it is to man to be really original.
Now we can see a source for most of our
familiar elements of design in the decoration
which was used in Egypt long before any
example that is known to us outside of that
land. And it is to Egypt then that we are
logically bound to look as the origin of these
motives. If, then, we seek the source of
most of the various elements of the decoration
which covers our walls, our floors, our dishes,
our book-covers, and even our railway stations,
we must begin by studying Egypt.
As our object is the history and evolution
of the various elements of decoration, we
may classify these elements under four divi-
sions. There is the simplest geometrical
ornament of lines and spirals and curves, and
io. |}§d KGYPTIAN DECORATIVE: ART
of surfaces divided by these into squares and
circles. There is the natural ornament of
copying feathers, flowers, plants, and animals,
There is structural ornament which results
from the structural necessities of building and
of manufacture: these often result in the
perpetuation of defects or copies of defects,
like the circle stamped in the plain end of
meat tins which is made to imitate the
circular patch soldered on to the other end,
so trying to establish a balance of appearance.
Many architectural devices and difficulties
are perpetuated for us in this way long after
the original purpose has passed away ; such
as the cylindrical bosses projecting from the
walls in Moslem architecture, which imitate
the projecting ends of pillars torn from ruins
and built into the wall, though rather too
long for the position. The origin and the
imitation can be seen side by side at Jeru-
salem. Structural ornament is therefore
THE SOURCES OF DECORATION 11
often of the greatest historical value as
pointing to a condition of things that has
since vanished.
Lastly, there is symbolic ornament.
Some now claim most decoration as having
some symbolic or religious meaning; of
that I shall say nothing, as it is but an
hypothesis. But there is no question of the
symbolical intention of many constantly
repeated ornaments in Egyptian work, as
the globe and wings, the scarab, or the
various hieroglyphs with well-known mean-
ings which are interwoven into many
designs.
CE espaol “Ut
GEOMETRICAL DECORATION
The Line.
NE of the simplest and the earliest
kinds of ornament that we find is the
zigzag line, which occurs on the oldest
tombs, 4000 B.c. So simple is this, that
it might be supposed that every possible
variety of it would be soon played out.
Yet, strange to say, two of the simplest
modifications are not found till a couple
of thousand years after the plain zigzag
had been used. The wavy line in curves
instead of angular waves is not found till
the XVIIIth dynasty, or about 1500 B.C. ;
while the zigzag with spots in the spaces
I2
GEOMETRICAL DECORATION is
is equally late, and is generally foreign to
Egypt.
The plain repeated WARRARAASRESSA
BRASAFAFFAD- OS
ae a
Z18Zag line 1S used 1.—VI. dyn., L.D., 11. 98.
down to late times, but generally with
variety in colour to give it interest. From
the earliest times this was symmetrically
doubled, so as to give a row of squares
with parallel borders ;
2,
or with repeated zig-
gag borders in alset= ~~~ Wr ayn. Mery, Gauste
nate light and dark colours.
This same type lasted on-
ward to the XIXth dynasty
(belt Ramessu II. c.m.x.), and
is found, with the addition
of spots in the outer angles,
in the foreign dress of Shekh
Ptah-hotep, : fs
Perrot XI. Absha, at Benihasan, in the
XIIth dynasty.
A later stage was to repeat the squares
14 EGYPTIAN DECORATIVE ART
with varieties of colour;
and also to introduce i
details into the squares,
and so make them com-
pound patterns, as in
the XVIIth dynasty at
El Kab, where the
4.-—Prisse, Art. 84.
sequence of the blue, green, and red lines
makes a brilliant effect from these simple
elements. Not only a square, but also a
hexagon, was worked into the same design.
This, from the nature of it, suggests a
rush-work screen, and
probably it was plaited
with rushes in three
directions, and hence
the production of this
particular angle. The
previous zigzag pat-
LOVKOSNUNNV/OS
5.—L.D., 11. 130.
terns all suggest weaving; and in some in
Ptah-hotep’s tomb (Vth dyn.) closely woven
GEOMETRICAL DECORATION 15
and complex zigzag patterns are shown
which are evidently copied from textiles,
as we shall see further on in the chequer
patterns,
The use of spots for filling in corners was
foreign to the Egyptian. We first find it in the
garments of the Amu, or people of northern
Arabia, in the XIIth dynasty. Till then a spot
is never seen, except for the centre of a ears
but the Amu dresses Luz
are covered with spots |
in every space, and
even along the bars “ 60 a ‘Amu dress 33
and stripes of colour. The same is seen on
the later dresses of the Amu in the XI Xth
dynasty, and also in the
dress of the Pheenicians, 7.-—XVIIL., Keft dress,
& C.M. excl.
or Keft a It re: VAVAVAVAWE
curs on the foreign vases “3 xx. Vase, CM. clix
probably brought in from the Aigean; and
it is only found in Egyptian products
16 EGYPTIAN DECORATIVE ART
during the XVIIIth dynasty, when foreign
fashions prevailed, though it is but rare
then. Hence we may fairly set aside
this use of spots as a foreign or Asiatic
element, akin to the filling in of spaces on
early Greek vases with rosettes and other
small ornaments.
The zigzag line only became changed into
a rounded wavy line in the later time of
the -XVilith dynasty. AJA. ARS
Bhic. . probably ~ resulis. <2 A9s R aes
from the earlier patterns being all direct
copies of textiles which maintained recti-
linear patterns; but when the same came
to be used on pottery (as above), or on
metal work (shield border, L.D. i. 64),
then curves were readily |
introduced. On a golden | wii HN
bowl repeated waves are oT ae
shown, deepened so as to receive further
figures.
GEOMETRICAL DECORATION 17
The Spiral.
The spiral, or scroll, is one of the
greatest elements of Egyptian decoration ;
it is only second to the lotus in impor-
tance, and shares with that the origination
of a great part of the ornament of the
world. The source of the spiral and its
meaning are alike uncertain. It has been
attributed to a development of the lotus
pattern; but it is known in every variety
of treatment without any trace of connec-
tion with the lotus. It has been said to
represent the wanderings of the soul; why,
or how, is not specified; nor why some
souls should wander in circular spirals,
others in oval spirals, some in spirals with
ends, others in spirals that are endless.
And what a soul was supposed to do
when on the track of a triple diverging
3
18 EGYPTIAN DECORATIVE ART
spiral, how it could go two ways at ofice,
or which line it was to take —all these
difficulties suggest that the theorist’s soul
was on a remarkable spiral.
The subject of spirals fall into two
groups. The older group by far are the
scarabs, which contain spirals on a limited
and small field; the other group are those
continuous patterns on ceilings, furniture,
&ec., which are capable of indefinite ex-
tension by repetition. As the scarabs
are far the older examples, there is a
presumption that spirals may have even
originated on scarab designs; and the
hesitating and simple manner of the
oldest instances on scarabs indeed seems
as if the engravers were merely filling a
| space, and not copying any
aie well-known pattern, The
CURIE) earliest that can be cer-
t—-P Coll. tainly dated is one of
GEOMETRICAL DECORATION 19
Assa, of the Vth dynasty, on which a
bordering line is interrupted at the ends
and turned in to fill the space on either
side of the name. From the cramped way
in which this is done, and the want of uni-
formity in the spirals, it seems as if no
regular pattern were in view, but only the
need of avoiding an unsightly gap in the
design. We next see spirals 3
used in the same way to fill
up at the sides of the inscrip-
tion on the scarabs of Pepy,
without any attempt to connect
them into a continuous pattern ;
and on the-scarabs of Mav‘abra,
probably soon after, the same
loose spirals are seen thrown
in to fill up. In none of these 13.—F?.
cases is the ornament anything but the
means of supplementing the required in-
scription; nothing is arranged for the sake
28 HGYPTTAN DECORATIVE ART
of it, and it is treated as a mere after-
thought. Nor is it until the XIIth
dynasty that any continuous spiral design
can be dated. For over a thousand years,
then, the spiral is only to be found as an
accessory on scarabs, a fact which strongly
suggests that it originated in this manner.
Before describing spirals further, it is
needful to settle some definite names for
their varieties. Where the lines are coiled
closely in a circular curve, as in Assa’s
scarab, they may be termed coz/s,; where
lengthened out, as in Pepy’s, we may term
them fooks; where lengthy in the body
between the turns, as in Mav‘abra’s, they
are rather /zzés. Where the line is broken
at each spiral, as in all the above, it is a
chain of spirals; but where the same line
is maintained unbroken throughout it is
a contimuous spiral, and these are found
in all varieties of coils, hooks, or links,
GEOMETRICAL DECORATION 21
Sometimes the continuous line has separate
ends, but more usually it is exd/ess, return-
ing into itself. These terms will suffice
to distinguish the varieties, and enable us
to speak of a spiral with definiteness.
These detached spirals continued in use
in the XIIth dynasty, generally
as loose links, often not hook-
ing together, as in this of
Usertesen II. In the XVIIIth UR gS
dynasty this is still found as a 14.—Louvre.
general surface ornament on the boat covers
of Hatshepsut at Deir al Bahri, and on the
base of a Kohl vase in
the Ghizeh Museum.
But the spiral was de-
=
BS
Mh
veloped, apparently
under Usertesen I.,
into a chain of coils,
which are drawn
with great beauty wigas. FP. col, Fav.
22 EGYPTIAN DECORATIVE ART
and regularity. Such care indicates that
the design was a novelty, which was not
yet stereotyped and reproduced as a matter
of course. In no later reign were spirals
ever so beautifully and perfectly executed.
This type was revived under Amenhotep
(i- (aS. 1697}.. 1n about the xl
dynasty it was combined with the lotus in
perhaps the most perfect de-
sign that remains on any sca-
rab—a continuous coil with
flowers and buds in the spaces.
—— But it was felt that the
spirals all round occupied too much of the
field, so the top and bottom were left free
for inscribing, and the ornament was limited
to the sides, as in this chain of
hook pattern of Usertesen I.
This design, with the line con-
tinued around the top as well
as the base, was the staple
GEOMETRICAL DECORATION 33
decoration of the private scarabs of the
X1Ith-XI1Ith dynas-
ties, many of which
are of great beauty.
Both types are found,
but the hook pattern Fig. 20, F.Pi colt, Fig. 22.
is more usual than the coils.
In the finest work, however, the line
af
is made endless, a
single continuous ee
Do sabaadar al
line forming the oO
whole pattern, as i
in the endless hook Higwe2. FyPrcollts Bigee23:
pattern of Setmes, and the endless coil
pattern of Ptaherduen.
In the few spiral . |
scarabs of later Qs
times the pattern is Om 2
not only placed at SG
tee Siaes,.- Wut 1s “a, Pane 25.F.P,
carried all round, as we see in that of
24, EGYPTIAN DECORATIVE ART
Amenhotep J. and one of Ramessu II.,
which latter is the latest spiral pattern
known on scarabs.
The long links were seldom used in
= continuous patterns around sca-
a rabs, as in this, but were more
I usually employed for indepen-
KG dent spiral patterns without any
26.—F.P. coll, inscriptions.
After serving as adjuncts to inscriptions,
0
<b
27.—F.P. coll. 28.— Ki. xX. 50. 29.—I. viii. 60.
the spirals became elaborated as sole pat-
terns. These are at
first a few simple
Cons, as") on- ore
which, from the side
30.—K. x. 28. pattern, can be dated 31.—K. x. 4o.
GEOMETRICAL DECORATION 25
to about the VIIIth dynasty. These, when
elaborated with more coils or links, some-
times developed to great length.
Such patterns required but little inge-
nuity, and it is rather in the
design of continuous spirals that
the Egyptian showed his. skill.
The problem was how to arrange
a number of coils in a sym- 3.—K.x.1.
metrical system uniformly covering the
surface of the scarab, and yet to connect
them in a true series. This was done in
various ways, usually by introducing long
loop lines around the edge.
One of the simplest type is—
In another a cross
pattern is formed
which is entirely of 33—FP.
C coils, like frequent patterns
pa eae, “At, Mvykena.
Others fill up by establishing a repeat-
26 EGYPTIAN DECORATIVE ART
ing pattern, which might be indefinitely
multiplied. Ags= ——
and the difficulty is
avoided on a large
silver scarab of early
date by 33.—F.P. 36-2:
shortening the links to allow of
the connecting line passing the
ends.
47. =F iP: This difficulty of designing
good covering patterns out of true con-
tinous lines probably led -to the evasion of
introducing false links. Thus what would
otherwise have been an opening in the
middle was barred across.
Paneer O:— Lew D Oe 39.—K. x 27. 40.—K. x. 48:
Some beautiful effects were obtained by
GEOMETRICAL DECORATION 2
this false barring, which does not, at
first sight, catch
the eye, as in these
two examples.
In the latter, two
complete lop-sided = 4: Fp. 42.—F.P.
spiral groups are joined by long false links
around the outside. Another favourite
device which often occurs is also
compounded of lop-sided groups,
or rather of a cross group, like
Fig. 43, with four false links
joining in the middle. pitenie os
Some other devices did not
profess to cover the whole $28
field, as in Figs. 44 and 45 ; ES)
and sometimes two separate = 44-1. x. 14.
38) fell) (cits
@ @ @
45.—I. x. 155. 46.—F.P. 47.—Turin.
23 EGYPTIAN DECORATIVE ART
lines of design were superposed, a single
element of the same design being found
as. late as. Tahutmes: 111,
The spiral had thus been greatly de-
veloped as a detached ornament for a small
surface ; but in architecture and furniture
it was required as a continuous decoration
on borders and on large surfaces. Hence
its development was in many ways different,
and—so far as we know—later by a whole
cycle of history than the development on
the scarabs. On those small objects it
started in the Vth dynasty, became fully
elaborated in the XIIth, is common in the
XI[Ith, and only very occasionally found
in the XVIIIth, disappearing altogether in
the XIXth. On walls and furniture it is
rare in the XIIth dynasty, becomes usual
in the XVIIIth, flourishes in the XIXth
GEOMETRICAL DECORATION 29
and XXth, and is decadent in the XXVIth.
The simplest form in which it is found
is as a chequered pattern series of §
spirals, apparently on cloths thrown over
boat cabins. On Hat-
shepsut’s boat the spi-
rals are close together ;
eDttem.- XXL) 3 but
rather later, on the
boat of Neferhetep, they are spread with
chequers of red and blue between them
(W.M.C. Ixvii.).
About the. same period they appear as
a continuous coil pattern in relief on the
columns of the harim
well at Tell el Amarna.
The spiral in relief
being in yellow, it pro-
bably was copied from a jewellery pattern
in which a strip of gold was twisted into
spirals, and the spaces filled with squares
30 EGYPTIAN DECORATIVE ART
of coloured stones or pastes, judging from
the analogy of the inlaid capitals. This
example being earlier than most of the
spiral decorations of surfaces may thus
open our eyes to the meaning of some
such designs; and, in general, a close con-
tinuous coil returning on itself may well
be a copy of a strip of sheet metal,
doubled, and rolled up.
The next stage is where continuous lines
of spiral pat-
Fete Sa = a SN \
Ne (ek a
terns are placed
sides by side,
and other pat-
terns developed
in the spaces
between them.
Sometimes the
intervening
patterns become so complex as to over-
shadow the mere spirals, as in the splendid
GEOMETRICAL DECORATION 31
ceiling of Neferhotep, in the XVIIIth
dynasty. And in this the far more com-
plex quadruple spiral begins to appear, as
we shall see presently.
The lines of spirals were not only placed
parallel, but were also
crossed. For some Vy
reason this type was
never well developed,
but remained one of ‘Oi
the coldest and most
mechanical of all, look-
ing in the later stage of the XXVIth
dynasty like a most
debased wall paper.
But the glory of
Egyptian line decora-
tion was in the quad-
ruple spiral, of which
the most elementary 52.—C.M. celv.
example is on a boat cover as late as the
32
EGYPTIAN DECORATIVE ART
XXth dynasty (Ramessu IV.); though it
has passed through this stage long before
that time—if indeed
this may not be re-
garded as a degraded simplification of it.
It is also sometimes
|
yy Ai
7 OAMIIO
diy YO y
,
a
54.—XIIth dyn. R.C, Ixxii.
rhombic in plan.
From this was de-
; veloped a peculiar
my, pattern by the omis-
AW ° b4
Ci sion of the lines
which define the spi-
rals, thus reducing it
to a system of rows
of hollow-sided quad-
rangles without any
apparent connection.
The main develop-
ment of the quad-
ruple spiral was with
rosettes or lotus fill-
ing the hollow squares.
This became a stock subject with the
GEOMETRICAL DECORATION 33
Egyptian, and from thence a main pattern
in other lands. The fill-
ing in was either a flower
pattern or a rosette, which
might be either a flower
or a leather pattern, as we ¥
shall notice further on.
The insertion also be-
came more complex, four lotus flowers being
placed in each angle of the hollow square;
and the spirals being ,
more heavily developed,
in order to gain enough [7%
space for complexity in ae
the squares between |
them. Such a system
could hardly be carried
further, but reached its limits; like the
limit of size in the Great Hall of Karnak,
where the columns occupy too large an
area in proportion to the clear space.
4
34 EGYPTIAN DECORATIVE ART
In another direction, however, the spiral
blossomed further, in
' the parallel lines of
spiral pattern. These
became developed by
introducing link lines
so as to form a quin-
tuple spiral, which
57.—P. 80.
was further complicated by lotus flowers
and buds in the hollows and recesses.
In this direction, again, the Egyptians
had reached the limit beyond which more
detail would be merely confusing. By care-
ful use of colour to separate the various
parts, these complex patterns remain clear
and pleasing in spite of their richness of
detail. |
The quadruple spiral had, however,
another development, of © links, which is
rather too formal to be beautiful, and lacks
the flamboyant grace of the chains of
GEOMETRICAL DECORATION 35
spirals. Still it has a simple dignity,
related to the scarab
spirals rather than the
flowing surface patterns.
This became formalised
into a torturing kind of
design, which can only
be described as ‘“cur-
sedly ingenious.” By simplifying the pre-
vious pattern, a wave 41 ¢wom_ii_anim
was invented which
was equal in each iy
Ai n3 SAND
direction, and four of rrememe 1
ut lids Lx | }
6 2 ; aa i eo 3
these were crossed in [D}FQ HFS y
=.=.
a manner which noth- #£
ing but bold colouring 59-—P. 83.
could make intelligible.
The fret patterns are all modifications of
corresponding spirals. The cause of such
36 EGYPTIAN DECORATIVE ART
— is ae the influence of weav-
‘Bie As early as the
§ Vth dynasty we find
a fret of rhombic form
in basket-work in the
ce screen behind the figure
a
60.—L.D. 11. 57. Gizeh. The angles
of Ptah'bau'nefer, at
show that the plaiting was in three direc-
tions, as we saw in the basket-work pat-
tern at Benihasan (Fig. 3). But frets in
general are very rare until a late period,
and they doubtless depend on the adapta-
tion of spirals to textiles. We see no
trace of the fret in the Mykenaean art, the
spiral there being figured on stone or
metal, while the women wore flounced
dresses with scale pattern. But in the
pre-Persian age fret pattern weaving in
borders was the standard design, as we
see on the coloured robes of the Par-
GEOMETRICAL DECORATION 37
thenon statues; and immediately after that
the stiffest of square frets swarms over
Greek art, to the exclusion of the graceful
spirals and scroll borders.
The chains of links were copied in the
WO:
KS
61.—P. 82.
fret pattern with no
squaring up the
curves. . The, same
is true of the quad-
ruple spirals, which
i
‘
appear likewise modi-
fied; and this change
seems to have led to
63.—P. 83.
another simplified form, which is on the
384 HGYPTIAN DECORATIVE ART
same idea as the torturing design (Fig.
59), but which is less ingenious, and is
still possible as an ornament.
So far we have viewed only the course
of Egyptian design, nor can we travel far
outside of it within these pages. More-
over, as it is dated before any other such
decoration in other countries, it is well to
view its course as a whole without confus-
ing it with the various fragments borrowed
from it by other lands. Yet we may well
turn now to see the beginning of the
course of European decoration at Mykenae,
and observe its close con-
ua ge eS RY
seas decoration in Greece;
64.—Schuck. 256. occur almost exactly as
the parallel chains of links
we have already seen them in the pattern
GEOMETRICAL DECORATION — 39
of Neferhotep, but omitting the inner de-
tails added in the spaces.
The quadruple spiral is splendidly shown
in the ceiling of Orchomenos, with a lotus
flower in each space ;
iso AS a Sinipler
form without any fill-
ing in of the squares
on the grave stele
(Schuck. 146). While
even the ox head 65.—Schuck. 290.
with a rosette between the horns, in the
grand quintuple spiral pattern (Fig. 57),
is strangely paralleled by an ox head of
silver with a large rosette on the fore-
head found at Mykenae (Schuck. 248).
In observing these equivalents it must
be noted that whole patterns with their
detail are taken over complete from Egypt.
There are none of the series of inter-
mediate steps which we have traced in the
40 EGYPTIAN DECORATIVE ART
mother country ; and where a simpler form
occurs it is known to be later, the grave
steles being after the age of the great
ceiling. Thus there is the surest sign of
a borrowed art, apart from the facts of the
exact resemblances we have noted. Of
course the Mykenaean designs are mostly
influenced by the taste of the race. Many
of them are strongly European, and might
be of Celtic or Norse work, as has been
shown by Mr. Arthur Evans; but the
source of the designs lies in the two
thousand years’ start which Egypt had
before Europe awoke.
A separate form of the spiral pattern is
that used for borders, otherwise called the
wave or maeander, which merged into the
guilloche. Although the chain of coils on
the scarab borders in the XIIth dynasty
GEOMETRICAL DECORATION 41
may be regarded as a wave border, yet no
example is known of this border on other
objects until the XVIIIth dynasty. At
that time it appears as often on foreign
objects as on Egyptian, and the only in-
stance of the guilloche is on foreign dress.
Hence this development of the spiral idea
may well be due more to the Aegean civili-
sation than to that of Egypt. This will
agree with the oc-
currence of the guil- SS
loche on black pottery ves.
from Kahun, which class, wherever it can
be dated, is found to belong to the
XIIth—-XIth dynasty. The metal vases
shown on the monuments of the XVIIIth—
XXth dynasties are
mostly foreign tri- PE SEN
butes, and on them the wave border is
GV GD G\F
69.—R.C. Ixii.
©8,— P. 07. 105.
42 EGYPTIAN DECORATIVE ART
common, merging into a twisted rope bor-
SSE der, which is also
Joe RCo. found — though rarely
—on scarabs of the Middle Kingdom.
In Egyptian use this border is seldom
found. A box in the Louvre had a line
of long links; and a scroll edge appears to
"NSNSENENSNS NGNGNGNGO
Fig. 71. Fig. 72. °
the standard of Ramessu II. But more
usually the scroll is associated with the
lotus, as in these—
73-—P. 89.
74.—P. 89.
The innumerable adaptations of this in
Greek and later designs are familiar enough
to us.
The influence of weaving has been very
great upon these wave borders. As I
GEOMETRICAL DECORATION 43
have before noticed, the woven borders,
reducing the pattern to a fret, are shown
on the pre-Persian statuary at Athens, and
precede the most common and oft-repeated
use of the fret or key pattern borders in
Greece, and thence in all classical, medi-
zeval, and modern times.
Another type of border, which may be
connected with this, is found in the Ra-
messide age. As it occurs as stitching on
leather, and is well yoy gxyx¥KeKXp
adapted to quilting or 75-—R.C. oxxi.
sewing bands together, it may well have
been derived from that; but it is also
found on metal work, with which it does
not seem to be connected by origin.
PRRAARAR YM
76.—R.C. Ixi.
77-—P. 103.
44 EGYPTIAN DECORATIVE ART
The source of chequer patterns is unmis-
takably in plaiting and weaving. On the
oldest monuments the basket sign, xed, is
chequered in different colours; so are
also the baskets of farm produce carried
by the servants, as shown in the tombs.
The modern Nubian basket-work is_ well
known for the many patterns which it
bears like the ancient Egyptian. The
chequer pattern is found in every period
in Egypt, and is perhaps most common in
the latest forms on the sides of thrones in
the Ptolemaic age. In the Old Kingdom
many varieties were in use. The plain
chequers of red or
78.—P. and C. xiii, gonal square patterns
GEOMETRICAL DECORATION 45
developed by lines of
LH
chequers, which are often
Y
YE
NY}
,
not square but elongated,
thus forming general and
wide-spread patterns
which attract the eye on large
surfaces. These are best seen
in the tomb of Ptahhotep
(P. and C. xiii.) and in that
of Peheniuka (L.D. 1. 41),
both of the Vth dynasty, at
Sakkara.
In the Middle Kingdom we find chequers
80 —L.D. 1. 41.
Wis
Willa
covered with bars of
C3
colour, red and green,
ZL
CL —§$$$—=>4
77
Willd
Ulli
eZ
$7
XS
at Benihasan. i
Under the empire
chequers are less = = =. =
q — i
SS DS
common owing tO —“poqq-=;
the greater develop- SW
= —
\
—— I —— ———
ment of more elabo- 82.—P. 81.
AG. EGYDTIAN DECORATIVE ARI
rate decoration. A pleasing variety was
formed by lengthening the squares, a
change doubtless copied from weaving,
where oblong squares serve to break the
monotony of the pattern.
In later ages of the Saitic and Greek
times the chequer is a common resource,
ll but is seldom treated
ti
AES
all with originality or
grace, and we do not
© find any new depar-
© ture or advance in
Ca
83.—L.D. iv. 77. tion of the later ex-
the mechanical execu-
amples. One slight novelty was the
alternation of whole and divided squares
of colour, under Claudius.
Somewhat analogous are the net-work
patterns. They seem to be probably
derived from stitch-pattern over dresses.
Though found in the XIIth dynasty they
GEOMETRICAL DECORATION 47
are not usual until the XVIIIth dynasty,
and they are generally on the dresses
of goddesses. A simple example is on
a horse-cloth of Ra- NININININININ
W4) NYN“NYNINANINZ
messide age, which “N“NANZNYNANAN
4NINININININS
shows that these can i a
hardly represent long beads, but rather
vu : Vv uv v
Zo808o8o%
Dl pen en,
na a n o
is on the dress of 85.—C.M. cexlii. ccex.
stitching or quilting.
A more elaborate form
Bast in the tomb of Seti I., in hexagons.
But this design rose to pees when
it was introduced as I ININUINN
7 »<
an architectural ele- KK
ment in the decora- Fig. ~~
tion of columns at Tell el Amarna. There
it is coloured yellow, and the spaces are
alternate red and blue.
The Egyptians never used circles freely in
decoration; no examples are known before
the XVIIIth dynasty, and but few then.
48 EGYPTIAN DECORATIVE ART
The intersecting circles, forming a kind
of net-work, are
found in the XVIIIth
dynasty in blue on
a yellow ground; and
the same occurs in
black on blue and
red ground, in later
times (L.D. 1. 41). Besides the rosettes
other patterns were introduced into the
spaces, which were coloured red and green
alternately. But the most beautiful type
was with contiguous circles not intersect-
ing, and each containing four lotus flowers.
GEOMETRICAL DECORATION 49
The circle, however, never became of im-
portance, probably because it was too stiff
and mechanical for the Egyptian, who de-
lighted in the waving spiral patterns and
the unlimited variety of lotus develop-
ments. It is remarkable that there is not
a single example of the circle divided into
six, or with six segmental arms, which is
so common a motive in Assyria and Syria,
and which results so readily from stepping
the radius around the circle. This seems
to show that the Egyptian did not use
compasses at any time, but always worked
with a string and points. The absence of
a simple and self-evident motive like the
sixth of the circle is almost more striking
than a peculiar motive being present.
CES? Pik. Lit
NATURAL DECORATION
HOUGH it might be supposed that
the imitation of natural forms would
be the earliest form of decoration, yet this
is not the case. On the contrary, we find
the geometrical forms of wave lines, and
chequers copied from weaving, and the
varieties of the spiral, were the first orna-
ments of importance in Egypt; while the
natural forms of feathers and flowers were
not generally imitated till a later time.
One source of simple pattern that has
been little noticed is the feather, and the
variety of its forms. Fortunately we have
50
NATURAL DECORATION ST
these different forms shown unmistakably
as feathers on the coffins of the Antefs in
the XIth dynasty, before we find them in
common use elsewhere. Hence we can
have little doubt as to their real origin.
On these coffins the royal mummies are
figured as swathed around in_ protecting
wings, representing those of Isis at the
sides and of the vulture of Mut on the
head. The feathers have different forms
according to the part of the wing which
they occupy. Thus on one coffin we find
all of the following types of feathers :—
Fig. 93. Fig. 94.
Z
Z
Y
Y
y
J
Y
J
Z
Y
Y
Fig. ot.
Now when we have thus been shown
the conventional types which were used to
represent feathers, we can identify these
again in many other places, where pro-
52 EGYPTIAN DECORATIVE ART
bably the original idea of feather work
was entirely lost; and we have a new
light on some representations not yet
understood.
On the kings of the XVIIIth-XXth
I771; dynasty we often see a wide belt
)
covering the whole stomach, which
is decorated with what is commonly
called scale pattern. But this occurs
in scenes which are not at all war-
Amen like, and where no defensive scale
mix armour is likely to be shown—
Amenhotep I. is seated as a god receiv-
ing adoration after his
death; Amenhotep II. is
PR oe
eisislsisiers
WR SOOS
TOAS,
represented adoring Ra.
And in the second case
the pattern is identical
with the feathers on the
Antef coffin. The only
conclusion is that these
96.—Amenhotep II. R,S.
XXXVil.
NATURAL DECORATION 53
represent belts of feather work worn
around the body to prevent chill, like the
voluminous waist shawl of modern Ori-
entals. Such a feather belt would be
admirable for lightness and warmth, but
that it is not scale armour is seen from
the absence of it in fighting scenes. On
the contrary, in the royal campaigning
dress another form of feather work is
seen in the large wings of feathers which
encircle the shoulders (Ramessu II., R.S.
ixxext.);
This feather pattern is also very usual
on the sides of thrones, from the XVIIIth
dynasty down to the latest times. Here
again it is evident that it cannot be scale
armour; and a feather rug thrown across
the seat, in place of the fur rug otherwise
used, is a very likely thing to find in such
a position.
We may, then, take this pattern, when
54. HGYPETAN DECORATIVE: ARE
used on dress or on thrones, to represent
feather work. But in later times it is
also used on very incongruous objects.
As early as the XVIIIth dynasty the
feather pattern occurs around columns
as an architectural ornament (Tell el
Amarna), and with the characteristic mark-
ing also about the XIXth
’ dynasty (P. 79); also on metal
work dwase, Pw G7), where at
97—P.79. must be purely an artificial |
marking.
It became elaborated under
x on a throne-cover. And it_be-
' came degraded into an unintelli-
| gible pattern under Ramessu II.,
:
when it appears as the dress of
99.—R.5.
Ixxix.
the god Amen.
In later times the same pattern was
LL
NATURAL DECORATION 55
used on columns at Phila, in an Qj
inverted and very corrupt form.
The other forms of feather Ws
pattern shown on the Antef
coffin were also found later. But they
merge so readily into mere line patterns
that it is not likely that they were re-
garded as feathers in their later use.
The VY pattern is found on the columns
at Tell el Amarna, on belts of the kings
(L.D. 111. 1), on painted wooden columns
(P. 73), on the harps of Ramessu III.
(P. 114), and many other places.
The use of flowers for ornament is so
natural that their occurrence in the
earliest times is what might be expected.
Yet but few flowers were adopted for
decoration. The lotus is far the com-
monest, after that the papyrus, the daisy,
56 EGYPTIAN DECORATIVE ART
and the convolvulus, together with the
vine and palm, almost complete the
material of vegetable designs. There is
also, however, what may be called a
generic flower ornament —- the rosette —
which is treated so conventionally that
it can hardly receive any precise name.
Sometimes in the XVIIIth dynasty it is
clearly a daisy, very seldom has it the
pointed petals of the lotus; and it fluc-
tuates between the geometrical and the
natural so as to defy details. One cause
of this is the evident effect of leather
work. The coloured leather funereal tent
of Isimkheb, found at Deir el Bahri,
Opens our eyes to a great deal. We
there see an elaborate design, descending
to long inscriptions of small hieroglyphs,
all worked by cutting and stitching of
leather. After this we can see in many
of the Egyptian designs the influence
NATURAL DECORATION 57
of leather work; and nowhere is _ this
plainer than in the rosettes. The earliest
rosettes we know, those on the head-
band of Nefert, at the very beginning
of monumental history, are plain discs of
colour divided into segments by white
lines across them. These are discs of
leather secured by radiating threads; and
the same are seen in the XVIIIth
dynasty, more varied by concentric
circles of colours, probably succes-
sive superposed discs stitched down _p. ar.
one over the other.
Another stitch ornament is seen on the
stuffs used for covering
thrones in the XXth
dynasty. There star
and cross patterns are
used which are evidently
stitch work or embroti-
dery ; and in the spaces 103.—P. 116.
56 EGYPTIAN DECORATIVE ART
are discs of colour with white spots
around, probably pieces sewn on_ by
stitches round the edge. On a dress of
Lie a Beamessu whl) “Slso: agen-litele
x ok kK x y ; :
104.—R.S. Ixxxiii,. SiX-pointed stars, which were
doubtless stitch work. .
There can be no doubt of the effect
that stitching has had on the use of
rosettes, but other varieties are probably
independent of that. The great series of
rosettes is in the moulded glazed ware
of Tell el Amarna; there several dozen
varieties are found, varying from four
petals to thirty-two. The more elaborate |
of these have an _ unmistakable
daisy centre of yellow in the
Fig. 105. midst of white petals, and _ this
indicates what was probably the flower
in mind for most of them.
The rosette is found in varied use.
On metal vases it is very general, and
NATURAL DECORATION 59
may either be a separate ornament of
beaten work riveted on, like the rosettes
on the silver ox head at Mykenae, or else
embossed vefoussé in the metal. Carved
in wood or ivory, rosettes decorated the
furniture; and they are constantly found
as centre ornaments in square patterns,
and along borders with the lotus or other
subject.
In patterns a fre-
quent form is only
four petals, or a cruci-
form flower, as at
Benihasan in the
XIIth dynasty; and
this is varied by alter-
nations of square and diagonal arrangement.
A graceful, simple
form, which again re-
calls leather appliqguée, is
yellow ona blue ground.
60 EGYPTIAN DECORATIVE ART
An allied pattern is the disc surrounded
by spots. This is very usual on early
Greek pottery, and is found on the Aegean
pottery also. This is very rarely seen in
pure Egyptian design, and only in the
XVIIIth dynasty, when Mykenaean _ in-
fluence was strongest. On Nefer-
hotep’s ceiling two forms are found,
put between the horns of the bulls’
heads, like the rosette on the My-
kenaean ox head. Elsewhere it is
- usually seen on the scarves of the
0°90. Negroes as a characteristic decora-
AO) tion, and on the dress of the Amu
Pig. rrr. (C.M. cclviii.). Hence it appears
to be distinctly a foreign ornament, like
the other spot pattern on a zigzag line.
Only three examples are published from
Egyptian decoration, and those may well
be due to foreign influence.
NATURAL DECORATION 61
We now reach the largest and most
complex growth of Egyptian ornament in
the lotus, so widely spread that some
have seen in it the source of all orna-
ment. Without going so far, we shall
find plenty in it to tax our reasoning and
imagination. If I prefer, in dealing with
this, to ignore the developments of it
seen outside of Egypt as aids to under-
standing it, this is only because those
foreign examples are so much later that
they are a reflex of various Egyptian
periods, and cannot show anything cer-
tainly as to the long anterior course of
development in Egypt itself.
The debated question of lotus and papy-
rus disappears at once when we look at
the feathery head of minute flowers which
the papyrus bears. That some flower,
62.- EGY PPAN ‘DECORATIVE «AKT
such as a xelumbium, was confused with
the lotus seems, however, very likely.
There is no doubt that in ornament
different flowers were sometimes confused,
and their details mixed; hence it is of
no use for us to be too particular in
trying to separate them. We | shall
therefore use the name lotus in general
without necessarily entering on _ botanical
reasons for and against it on each oc-
casion.
The oldest use of the lotus
was in groups of two flowers
tied together by the stalks;
such are found on the
prehistoric pottery at
Siar ia Kopites, ate! om the
earliest tombs. But in later times
this became corrupted, and the
Giga AD,
origin apparently forgotten, by evn ds
the XVIIIth dynasty.
NATURAL DECORATION 63
The plain flower was also used very
early, as we see on the
head-band of Nefert at the ee
begining of the IVth dynasty. And as
architectural ornament it appears as a
capital in wood of the Vth
dynasty in the tomb of Imery.
At Karnak there is a celebrated
pair of granite pillars, one with
115.—L.D
the papyrus, the other with the |? 2 ee iy
lotus; and this form, with the
sepals turned over at the end,
became the more usual in the
Eanp ire
and later
times.
Big 6,
The variety of
lotus capital is very
great. The: bud
capital and the
117.—P. 79. 118.—P. ar.
He IB serties 6h
opened flower are
64 EGYPTIAN DECORATIVE ART
both shown in the XVIIIth dynasty (tomb
of Khaemhat); and many composite, com-
plicated, and impossible combinations were
piled together in the decadent age of the
Ramessides.
The lotus was also much used in repe-
tition as a border pattern, but not ap-
t19.—P. Mon. L. 120.—R.C, lviii.
parently before the XVIIIth dynasty ;
and usually it is in alternation with buds,
which fit harmoniously
into the curves between
a ie 8 iy the flowers. This line
of flowers and buds
was varied as flowers
and grapes, and ap-
eT a pears very often in
the XVIIIth dynasty.
NATURAL DECORATION 65
The flower and bud was further de-
veloped in a mechani-
cal fashion, and we
can trace a -continu-
ous series of forms $
beginning in a flower 123.—P, 89. 8.
and bud pattern and modifying the inter-
mediate member,
f
until on reversing
Pig. 124. Fig. 125.
89.9: 90. 4. go. 5. 90.6.
the line we find that
something has been
evolved which is in-
distinguishable from
the Greek palmetto alternating with the
lotus. The isolated anthemion, which is
so much like this, has probably a different
origin, as we shall soon see.
Beside using the separate flowers, the
whole plant was also a favourite subject
as a group. In the earliest days we find
6
66 EGYPTIAN DECORATIVE ART
it entwined around the hieroglyph of
union, as we shall notice in considering
the hieroglyphs. In the XIIth
dynasty the plant appears as a
recurrent group in surface decora-
tion; though from the varying
7 «<form of the flower it might be
intended for lotus or papyrus.
In the XVIIIth dynasty it
is more free, as might be
expected in the time of Ak-
henaten.
It is also seen as a fureign
ornament on the
dress of a Syrian
slain by Ramessu II.
at Abu Simbel, but
in this case perhaps
SF the tufted papyrus is
129.—R.S. Ixxxiii. themed. -Daed ih
place of the rounded group which is usual
NATURAL DECORATION 67
in the XVIIIth-XIXth dynasties we find
a different treatment
on the throne of Ra-
messu III., in which
fh 1s- Rept iiore 4s
a parallel pattern.
This parallelism be-
came general in later 130.—P. 115,
times, and the Ptolemaic walls are ruled
over with stiff friezes of lotus and bud.
These wall basements are
preceded by groups of flower
and bud in scenes, which are
of the same style,
I
a
muti!
as early. as the
IVth dynasty, on
the tomb of Debu- ge 8 oo
hen. Here it may be the
papyrus; but in the Vth
132.—L.D.
sae dynasty, on a basket-work
screen, the lotus and bud is clearly shown.
68 EGYPTIAN DECORATIVE ART
This pattern, however, is very seldom found
as a general architectural ornament until we
come down to the dull
sterility of the Ptole-
maic and Roman age.
Then the lower part of
each wall is uniformly
ruled with an endless
WARE OROREOROOO™”
133-—P. 88. L.D. iv. 84. series of flowers and
buds on long stems in monotonous order.
We now come to the ornamental de-
velopment of the flower into a monstrosity,
which is only decorative and not natural,
and which requires some thought and com-
parison to understand its origin.
First there is the fleur-de-lys
type, with curled-over sides and
a middle projection. This has
fie: Ot been yet explained satisfac-
torily; but a principle which was first
NATURAL DECORATION 69
clearly formulated by Borchardt (A.Z.
xxxi. 1) will show the origin of this as
well as of the succeeding forms. The
Egyptian, it seems, consistently drew the
interior or top view of an object above
the side view. In short, they suppose
things to be seen in a bird's-eye view,
and expressed that by drawing—for in-
stance, a cup—in side view and partly in
top view above that, A dish would be
drawn in side view, and a top
view of its compartments and
contents placed over it, and
the bunch of flowers that lay
on it is again placed over the
top view. Now on this prin- a ae
ciple we can see that the projection in
the midst of the lotus flower is the third
sepal at the back of the flower, the fourth,
in front, being so foreshortened as to dis-
appear altogether.
75 “EKGVPTYAN DECORATIVE. ART
This view is further complicated by
showing not only some of the
four outer sepals, but also some
of the petals, usually three. Here
136.— : ae ‘
T.A. 368. the near sepal is shown rising in
front, and then above these everted sepals
are three of the inner petals of the
flower. These might be increased
137 to five or seven, but were generally
an odd number; and they were at
last evolved to a fan of petals, in
which the treatment of the dish of
fruit just shown is exactly repro-
duced, a side view of the flower
being crowned by a top view of it show-
ing the radiating petals in the interior.
So far we are on clear ground. Now
we come to a more complex form, which
has also not yet been explained. In the
XVIIIth dynasty (from which we must
mainly draw, as we have the long series
NATURAL DECORATION ia
of varieties in the glazed ornaments of
Tell el Amarna) a strange form
appears, with reversed curling arms
above the calyx. Now we _ have
seen that a third sepal is shown ?.A-37s.
from the back of the flower, and the
fourth is omitted which lay in front. But
this was an imperfect flower, and so a
diagonal point of view was taken, in which
two sepals lay nearest and were seen in
side view, and the two behind them were
seen over them. Sometimes they
are curled alike, but more generally
they are curled different ways, the s
nearer ones downwards, the further pe
ones upwards. Hence we get this very
mechanical form, which was greatly de-
veloped in Assyrian and Greek types of
the pattern. If it can be proved that the
Assyrian tree pattern is earlier than this
development, we could then grant what
72 EGYPTIAN DECORATIVE ART
seems a likely influence on the develop-
ment of this pattern. It was so
far removed from a natural view
that it soon became greatly varied
and amplified, as on a bracelet in
the Louvre.
In Assyria this became a staple design,
in which the top was greatly
increased at the expense of the
: lotus sepals below; but still the
AD ay,
ana'C. ASS.
127.
back, are shown. In the Greek designs,
four sepals, two front and two
however barbarous they may seem in com-
parison, owing to their hopeless divergence
“Wy from any rational type, yet the
Me 2
same elements remain, and the
143.—Tanis
If.xxxii_, four sepals can be traced below
the view of the petals in the
flower. Thus the anthemion
with its double curves is fully
Goodyear ye accounted -for, the Tewer~ and
NATURAL DECORATION 73
upper sepals being still distinguishable in
the two spirals on each side at the base
of it. The later changes of this neces-
sarily belong to Greek art, and we cannot
here follow them out.
A late development of the lotus in
Ptolemaic Egypt was with a
central spike through the face of
petals. As this spike rises from
the base, it appears to be the
front sepal rising before the petals.
Another variety in this pattern remains
to be noticed. On very many compound
lotus patterns there is a pen-
dant from each end of the
side sepals. This does not
appear untilthe KV Tih | for
dynasty on the monuments: it is then
sometimes single and sometimes double.
But here, as in the spirals, the scarab
type is an earlier stage than the archi-
74 EGYPTIAN DECORATIVE ART
tectural. On the architecture it is quite
unintelligible, and a mere conventional
monstrosity ; while on a scarab
of green jasper—which from the
style and material seems cer-
tainly to be before the XVIIIth
dynasty, and probably of the
£47.—F.P.
coll.
XIIth—there is an already con-
ventionalised lotus group, with the four
sepals and inner petals already developed
into a sort of “tree pattern,” and the
lower two sepals have a pendant, partly
worn away, but clearly showing a_triply-
branching line like a small lotus flower.
This is the earlier stage of this conven-
tional pendant; but even here, although
the pendant itself is rational, the position
of it is hard to explain. Probably we
'must wait for some early scarab to clear
up the real origin of this curious and
puzzling form.
NATURAL DECORATION 75
We have now traced the evolution of
the various forms of the lotus pattern in
Egypt, and seen how the main Assyrian
and Greek types of the palmetto and the
anthemion arose, which were confounded
together owing to their similarity.
Other plants were often confounded with
the lotus in decoration, by the ancients as
well -as by moderns. We have _ noticed
some examples of this; and it is well
shown in the group of boat-builders, to
whom, apparently, bundles of papyrus with
lotus flowers are being brought, in the
IVth dynasty tomb of Shepseskau (L.D.
es i 2 8
Much use was made of papyrus in the
floral work of Tell el Amarna. On the
painted pavement groups of papyrus with
large red fluffy heads of seed vessels are
figured; and on the coloured tiles the
landscape view of the papyrus plant in
76 EGYPTIAN DECORATIVE ART
strictly natural treatment is a _ frequent
subject. But these belong rather to
artistic than to ornamental work.
In architecture the lotus and_ papyrus
were largely used, in fact they form the
basis of columnar decoration as distinct
from that of pillars. The earliest figure
of a column that is known is as far back
as any dated monument we possess at the
beginning of the IVth dynasty; and there
it is fashioned as a stem and flower, pro-
bably carved in wood. The
contracting connection with the
tenon above, in a bell form, on
the top of the flower, is the same
as columns of the VIth dynasty
GUD aq; 1a) Jaga Ge.)
source of the much later columns
Fig. ;
48 of Tahutmes III. at Karnak, ™
NATURAL DECORATION 77
which otherwise seems to be an_ unac-
Ke
countable ‘‘ sport.”
In the figures of
wooden columns in
the Vth and VIth
dynasties, the lotus
Fig. 150. Fig. 51.
form prevails, as we
have already noticed, and here repeat.
In the Vth dynasty, in the
tomb of Ptahshepses at Abusir
the clustered papyrus stems are
a new feature; at Benihasan
they are well developed; and
they continued in use to the Fig. 152.
XVIIIth dynasty. But a_ diffe-
rent type then arose into predominance
in the wide bell ~ topped lotus capitals,
and with long sheath - leaves around the
root; and this continued for several
dynasties. But this was displaced
by the elaborate composite capitals of
78 EGYPTIAN DECORATIVE ART
Ptolemaic and Roman age, which were
made up of varied elements of incon-
gruity.
The palm, though the most important
tree of the country, has had but little
effect on the architecture. There is not
a single example of columns copied from
a palm stem; and the only instances of
the imitation of the stem are in two or
three instances of copies of roofing beams.
joe ae The branches are 10t
“Y
i
TD
S
<
\\;
y
iD
LU,
Uy
WANA copied on columns until
WANNA
iN Be
other subjects were well
used... fn? tite > OCT iy
dynasty the imitation of
yy
WOOT
DLL
»
ara,
a bundle of palm branches
Fig. 153. was made in the capitals,
and it became common in the XVIIIth.
Perhaps, however, as we shall see in
considering the hieroglyphs, the palm
column originates with a bundle of palm
NATURAL DECORATION 79
sticks bound together. It is strange
that the simple element of grouping
branches round a post should not have
been a very usual early motive. Was
the palm really common in early Egypt?
It does not enter into the hieroglyphs,
and it is seldom shown on monuments
till the XVIIIth dynasty; while grapes,
figs, and pomegranates all seem to have
been commoner than dates.
In late times not only the branches but
the fruit was sculptured ; and at Esneh
and other Roman temples the bunches of
dates are carefully rendered.
The vine is one of the oldest culti-
vated plants in Egypt, and all the designs
copied from it are based on the idea of
its climbing and trailing over the houses.
It appears mainly in the florid work
of the XVIIIth dynasty. The ceiling was
often painted of a golden yellow, with
80. _ EGYPTIAN DECORATIVE ART
vine leaves and bunches of grapes hang-
ing from a trellis pattern which covers
it. At Tell el Amarna some fragments
found were very free
and natural, but in
the XXth dynasty it
became a_ stiff and
formal affair. (Tomb of
aie Aimadua, Ramessu X.).
Bunches of grapes also formed favourite
pendants; as such they
are painted in rows
are hanging from architraves
of wooden buildings (tomb of Ra, Amen-
hotep II.); and frequently in blue glazed
ware bunches of grapes are
found of varying sizes, with
half of the upper part cut
Fig. 156. away so as to affix them by
a peg-hole to a square wooden beam of
the ceiling,
NATURAL DECORATION 81
In the Greco-Roman decoration of capitals
the vine and grapes also appears, and is
often very beautifully treated, as at Esneh,
though essentially as a mere surface decora-
tion, and not as an organic element.
The convolvulus has scarcely, if at al,
been acknowledged as an Egyptian orna-
ment. Yet it often occurs during the
XVIIIth and XIXth dynasties. On a
coffin in the Ghizeh Museum a long trail
of convolvulus is beautifully modelled and
painted; and during the tide of naturalism
under Akhenaten the wild flowing stems
were a favourite element of decoration.
Subsequently the convolvulus is
often shown as a climber on the
lotus or papyrus stems in bouquets ;
and though its leaves then have
been miscalled lotus buds, or “ tabs,”
yet they are clearly intended for a
natural leaf of this climber, which
7
82 EGYPTIAN DECORATIVE ART
is so common in the Egyptian fields.
Another field plant which played a
great part in the glazed decorations was
the thistle. This is natu-
rally painted on the glazed
tiles; and the glazed pen-
dants of necklaces and
wall decoration showed an
abundance of thistles with
green calices and _ purple
petals, But this, like the convolvulus, was ©
rarely used except during the beautiful
period of naturalism which was most de-
veloped by Akhenaten.
Artificial combinations of flowers also
became used decoratively. We have just
instanced two examples from the great
bouquets or staves of flowers which the
Egyptians used in ceremonies.
The garlands of flower petals which are
seen on the heads of women, or as collars,
NATURAL DECORATION 83
in the XVITIth-XXth dynasties were also
placed around the water-jars; and hence
a painted pattern of garlands came to be
used on those jars.
In architecture also the garland came
ACTA
carved on the stone Fig. 150.
into use, sometimes
around the columns, sometimes made
in coloured glaze and inlaid in the sur-
face.
Wreaths of lotus
hha dt
also represented around ee ee
flowers and buds were
the columns at Tell el Amarna.
The great pectorals, or breast-plates, of
successive strings of flowers and leaves
were prominent in the personal and
religious decoration. The sacred barks
of the gods were adorned with large and
complex breast-plates, probably made of
bronze, gilded and inlaid (L.D. 111. 235).
84 EGYPTIAN DECORATIVE ART
A small example of such
we have in London, with the
CHSTET ETEK Og
at
details all inlaid in gold. These
pectorals were also represented
16r1.—P. Mon,
xlix. 2, on the later vases as a com-
plete whole.
Turning now to the men and animals shown
in decoration, in the period of the Empire we
constantly see figures of captives introduced
to emphasise the power of the king. These
first appear in the great change which over-
came Egyptian art consequent upon the
Asiatic conquests. Before Tahutmes III. the
character and style of work continually recalls
that of the XI Ith dynasty; but within one or
two generations a profound difference changed
for ever the nature of the art, and this is
reflected in the national handwriting, which
NATURAL DECORATION 85
shows a similar break. Amenhotep II. ap-
pears on his nurse’s knee with an emblematic
group of foreigners under his feet, while he
grasps cords tied to their necks; and in
the same spirit he is shown, when grown
up, as smiting at one blow a whole bunch
of captives whom he holds in his left
Bands £Cb Dp attr, .633 > Is IDR aaa, 60),
Tahutmes IV. similarly is seen seated on
his tutor’s knee, with his feet on a foot-
stool ornamented with prostrate captives
(L.D. 111. 69). Amenhotep III. appears
with figures of a negro j=
and a Syrian bound to Na
the sam sign on the
I WD
TX
sides of his throne, and
OT
henceforward the
miei
i on 0
abasement of captives
was an essential idea 162.—L.D. 111. 76.
to Egyptians. But it should be remem-
bered that common as the notion was in
86 EGYPTIAN DECORATIVE ART
/ late times, it is originally Asiatic and not
Egyptian; the king trampling on the
nations and making foes a footstool are
ideas not found in Egypt until the Semitic
conquests of Tahutmes III., though the
earliest figure of a sphinx trampling on a
captive is under the XIIth dynasty.
Under Akhenaten six various races are
represented on the sides of his great
balcony (L.D. 111. 109), and the alternate
negroes and Syrians are painted on the
passage floors of his palace, or carved in
blocks of alabaster to be trodden under
foot. Down the various ages this
symbolism recurs in decoration
until in Ptolemaic and Roman
times every decent Egyptian had
captives painted on the soles of
his sandals in which he was
Fig. 163. buried, so that for all eternity
he might tread down the Gentiles.
NATURAL DECORATION 87
Among animals a favourite in decoration
was the ibex, but it
was not introduced till
the XVIIIth dynasty.
It often appears on
the finger - rings of
Akhenaten’s time, and
later upon the funeral
tent of Isiemkheb, ingeniously adapted to
fill a square space.
The bull or young calf was more fre-
quently introduced; on the wooden boxes
and trays it is shown as bounding in the
meadows, and it is continually used in the
groups of the painted pavement at Tell el
Amarna.
Birds are also a common subject for
decoration, though only dating from the
same period as the other animals. Besides
the symbolic or sacred use of the hawk
and vulture, the very secular duck was a
88 EGYPTIAN DECORATIVE ART
favourite bird. On the great pavements
of Akhenaten it appears above every group
of plants.
On rings it is often engraved
fluttering above its nest; and in
the decadence of Egyptian art
in the XXth dynasty the incon-
gruous idea was adopted of
Fig.165. birds, eggs, and nests all upon
a ceiling,
The natural ceiling pattern adopted from
the early days of Egyptian art was of
golden stars on a deep blue
x * *
Wk ok ke fal ground; not a dark daylight
xk ees Cae
rig. 166. blue, as in modern imitations,
but a black night blue. These are always
five-pointed stars, with a circular spot,
usually of red, in the centre.
It is noticeable that the Egyptian views
NATURAL DECORATION 89
a star as surrounded by long streamers of
light ; because to a long-sighted person, or
any one with proper spectacles, the stars
appear as points of light without radia-
tions. Hence it seems as if the Egyp-
tians were short-sighted people from the
early ages.
Lastly we may notice the base imitation
of nature in copying the grain of
wood, which we find done in the
earliest times of the IVth dynasty,
and continued down to the period
of the Empire. Stones were also
Fig. 167.—
imitated by painting, and red granite '?: 1 19
is frequently copied in the earlier days, on
the recessed doorways of tombs. In later
times vases of valuable stone were
imitated by painting over a pottery =
vase, and such cheap substitutes
gq
Ki
OV
oe)
were commonly placed in the tombs.
These base imitations are of esthetic
60 «€66EGYPTIAN DECORATIVE. ART
interest as showing in what a different
manner the Egyptian viewed his materials
from that of our standpoint. He stuccoed
and painted over his hard stone statues ;
it was enough for him to know that the
stone was hard and imperishable—he did
not need to see it always exposed. The
imitation of nature was the standpoint from
which he started, and he had no objection
to carry out that imitation with paint or
otherwise; our abstract standpoint of an
artistic effect which must never involve
falsity, but which may have little or nothing
to do with nature, was altogether outside
of his zsthetic.
CHAPTER IV
STRUCTURAL DECORATION
. the persistence of certain forms which
were the direct result of the structure of
a building or object, we have a very con-
siderable source of decoration. In Greek
architecture many of the details are entirely
the product of wooden construction §trans-
lated into stone. The triglyphs, the imita-
tion of nail heads, of the ends of the poles
supporting the roofing, of the crossing of
beams at the coffers, are all details which
are retained as decoration long after they
ceased to have any structural meaning, owing
to an entire change of material. Such is
91
92 EGYPTIAN DECORATIVE ART
structural decoration in its best known forms.
But the same principles equally apply to
Egyptian architecture; there the original
material was not sawn wood as in Greece,
but rather the papyrus and palm branch,
with the ever-present mud plastering and
mud bricks. The decorative details of the
stone architecture have come down from
this stage of building, translated point for
point into stone, just as the Greek trans-
lated his wooden architecture into marble.
But pottery preceded stone in Egypt,
and one of the simplest of ornaments
arose from structural necessity. To this
day may be seen in the Egyptian pottery
yards bowls and jars held together by a
twist of rough palm fibre cord, while they
dry in the sun before baking. This acci-
dental marking by the rope in the wet
clay is seen on the pottery of all ages;
but it became developed as a pattern ap-
STRUCTURAL DECORATION 93
parently in the twist or guilloche, which
VOLO SSE VLAAAADO
TOON
169.—H.S. 3832. 170.—Kahun Pot.
may perhaps be rather derived from this
than from the chain of coils or wave
pattern.
Basket-work was elaborately developed
in the Old Kingdom. There were beauti-
ful screens represented behind the figures
of the owners of the early tombs; they
might in some cases be matting instead
of basket-work, but others of the patterns
appear certainly to be of a rigid material.
In no case are they likely to be “mats
on which the kings stand,” as_ styled
by Owen Jones. Among the wr
various patterns of platting
which are readily developed,
squares, waves, zig -zags,
chequers, &c., there are some
94 EGYPTIAN DECORATIVE ART
made by binding the fibres into bundles,
WA oy WV
and so making a kind of open
.
(D
Ent lt
work, which may well have led
oe
to the pattern of connected
alls ie
UK IN IKE =.
724, Oriental pottery.
a
rhombs which is so usual on
One of the most familiar early motives
is wooden framing. This is continually
imitated in the stone figures of doorways
in the tombs. The details of it show
that a frame or grate of joinery must
Ll
have been used for the
porch of large houses,
sd TTI
SS
so as to admit light
and air while the door
was’. fastened. The
prevalence of such
il
3—.Ds thay, wooden framés or Jat-
tices in modern times in Egypt — known
as mushrabiyeh work—shows how suited
such a system is to the climate. Long
STRUCTURAL DECORATION 95
after the use of stone was general the
frames were imitated, and the pattern sur-
vived as a decoration. The same _ style
a house, with decora-
of framing was used in the upper part of
“alls
PEEEPCIEELY) © EET
Ln
fancy decoration in 174.—Ghizeh,
tive uprights of the
hieroglyph af, and
was copied as a |
furniture, as seen in a beautiful ivory carv-
ing in the Louvre. This style survived
until the XVIIIth dynasty, when it is
seen in a tomb at Thebes (Amenhetop
II., Prisse Art) and at the temple of
Pecer nae wide CoC ee
Amenhotep III.
Much akin to this
Fig. 175.
wood framing is the panelling of the brick-
work which is seen in the earliest examples
06 “EGY PERAN DECORATIVE Aik
in Egypt, and is identical with the panel-
ling of walls in early Babylonia, one of
the indications of a common civilisation of
the two great valleys. This panelling
does not seem to have
lasted beyond the Old
eri ae ea Kingdom ; there was
no trace of it found at Kahun or Gurob,
in the buildings of the XIIth and XVIIIth
dynasties, nor does it appear in any draw-
ings or imitations of buildings.
One of the best known characteristics of
Egyptian architecture is the sloping face
of the walls and pylons. This is directly
copied from brickwork. In order to give
more cohesion to a wall it was the custom
fo: Sbaild “it von
curved bed, so that
the courses all sloped
up outwards at the
outer corners. Thus the outer faces sloped
STRUCTURAL DECORATION 97
inwards, and the wall had more stability.
So wedded were the. builders to’ this
method, that where a long wall of a fort
or city was to be built they preferred to
begin with a row of towers of brickwork
thus arranged, and then to fill in the
spaces between them with more plain wall-
ing. This slope of the walls was copied
in stone at the earliest time. The temple
of Sneferu at Medum has a slope on the
face of about 1 in 16, and it was con-
tinued down to the very latest age of
Roman building.
Another familiar feature is the roll or
torus down the corners of the build-
ings. It is usually ornamented by WN
a pattern of binding. This— |
as was well pointed out by
Professor Conway—is evidently
a bundle of reeds bound together,
and put down the angle of the ea
8
98 EGYPTIAN DECORATIVE ART
plastering in order to preserve it from
breaking away. Such a construction was
an ugly necessity at first, but when stone-
working arose it had become so familiar
that it was faithfully copied in stone as a
decoration, and continued to be so copied
for more than four thousand years, as long
as Egyptian architecture lasted.
The well-known Egyptian cornice has
been so long taken for granted that it
might seem never to have
required an origin. Yet in
the villages of the
Fellahin to-day
palm cornices may
be seen in course
Fig. 179.
of development. A_ fence is
formed of palm-sticks, placed upright, and
stripped of leaves for some way up. The
STRUCTURAL DECORATION 99
tops are left bushy, and serve to prevent
men or animals climbing over the court-
yard wall. The upright sticks are tied
together by a rope near the top, or lashed
on to a cross line of sticks. The fence
is stiffened below by interweaving other
palm-sticks in both directions; and then
the whole is plastered with mud up to the
tie level. Here we have the cavetto
cornice being formed by the nodding tops
of the branches; and to clinch the matter,
the earliest representations of that cornice
are on figures of buildings which show
the crossed sticks of the fence below
the cornice. The ribbing of the cornice
is seen on the earliest examples, on Men-
kaura’s sarcophagus in
the [Vth dynasty (Per-
ring), in the Vth
dynasty (L.D. II. 44) TOD, — eer, rie.
gids the. Vidy iD, £1, afe)y arid
1600. (EGYPTIAN DECORATIVE ART
such was copied until late times. But in
the more decorative cornices of the
XVIIIth dynasty the ribbing was broken
up by cross _ lines,
sometimes curved
upward, sometimes
re Fig. 183. downward. These
cross lines must be a degradation of the
leaves of the palm branch. In later times
they are omitted, and the pattern becomes
simply striped.
This cornice was copied in Syrian archi-
tecture, in the plain form without ribbing,
as in the tomb at Siloam and the slabs
of Lachish; but it does not appear to
have ever taken root in Assyria, though
attempted there, nor is it known in Europe.
The other main type of Egyptian cornice
is what is known as the AKhaker, from the
equivalent of the sign as a hieroglyph in
inscriptions. This only means “to cover”
STRUCTURAL DECORATION 101
or ‘to ornament,” and therefore refers to
the position of the decoration and not to
its origin. The clue to the real nature of
this decoration is given in a tomb of the
IVth dynasty (Ptah-hotep, L.D. 11. tor.
b.), where we see the £aker ornament
not as a mere painting, but represented as
standing up solid around the tops of the
cabins of boats. It cannot therefore be
anything very heavy or solid, such as
spear-heads, as has been proposed. It
probably results in some way from the
construction of the cabins.
They must have had roofs
of very light material.
Papyrus was generally used
for building boats, and
therefore for cabins also,
most likely. This gives us
the clue to interpret it. Suppose a screen
of papyrus stems; the roofing stems tied
102 -EGYPTIAN DECORATIVE ART
on to the uprights; and the loose wiry
leaves at the head tied together, to keep
them from strageling over and looking
untidy. Here we have all the de-
tails of the shaker ornament simply
resulting from structural necessity.
The leaves are gathered together at
the lower tying; there the end view
of the concentric coats of the papy-
185.—
Prisse 88,
rus stems of the roof are seen as
concentric circles; above which the leaves
bulge out and are tied together near the
top. Though this structural decoration is
seen on the top of boat cabins as early
as the IVth dynasty, yet we have not
found it as decoration on a flat surface
until the XIIth. Then it is very com-
mon ; but its meaning became confused in
the XVIIIth dynasty, and in Ptolemaic
times it is seen in absurd positions, as
on a base, and on architraves above an
STRUCTURAL DECORATION 103
empty space, where no stems below it
were possible.
We have just mentioned one use of
reeds or papyrus in the torus roll on the
edge of buildings; but on interior decora-
tion we meet again with the same motive.
The borders of Egyptian scenes from the
earliest times are framed with a variety of
bindings; and so suitable did such border-
ing seem that it was continued with but
little variation throughout all the history.
The oldest forms are—
plain binding TTT TTT I
986. L/D aE as.
a diagonal binding, WWIAIATAAI
187.—L.D. 11. 44.
os VAVAVAVAVAVAVZA
188.—L.D. 11. 44.
and crossed binding. EE EY TERE ERED
“189.—L.D. 11. 54.
104 EGYPTIAN DECORATIVE ART
The latter became
modified into—
190.—L.D. 11. 148.
by the XIth dynasty, showing that its
meaning was already becoming forgotten.
But a modification of the tower ends
of this pattern in the XIIth dynasty
is difficult to understand; unless we
can look on it as an irregular wind-
ing of the ends of the cord around
the reed bundle in place of the
Lp, regular crossing which is shown
132. above it. |
The modification of colours and arrange-
ment in the plain binding is interminable.
In the XVIIIth dynasty
we find
in the XI Xth
in late times
STRUCTURAL - DECORATION 105
and in all ages a binding with a number
of lines between coloured ‘spaces was
— ale
Pig: 195.
and on borders of architecture and statuary
— OIOIMIOI
Fig. 196.
CHAPTER 'V.
SYMBOLICAL DECORATION.
HE Egyptian who expressed all his
thoughts by a _symbolical writing,
full of determinatives, was naturally much
given to symbolism in his decoration.
Not, however, that all his decoration was
symbolic in a recondite sense; the ever-
present lotus ornament was merely a thing
of beauty; the lotus was not a_ sacred
plant, it is not associated with any divinity
in particular, and only in one unusual in-
stance does it ever occur in the _hiero-
glyphs. The fanciful habit of Europe, in
seeing a hidden sense in every flower, was
106
SYMBOLICAL DECORATION 107
not akin to the simple and elementary
mind of the Egyptian. But certain strik-
ing emblems he used continually ; and one
of the earliest of these is the uraeus snake,
or cobra in his wrath, reared up with ex-
panded body ready to strike. The dignity
and power of the animal made it to be
‘an emblem of the king, or rather perhaps
of the royal power of death. That capital
punishment was used in Egypt is seen in
the Westcar Tales, which probably date
from the Old Kingdom, where a condemned
malefactor is ordered to be brought forth
for a magician to try his power in_ bring-
ing him to life when slain. The king, as
having the power of death, bore the uraeus
always on his head-dress; and from the
earliest days (at Medum) the royal court
of justice was adorned with a cornice of
uraei, implying that there resided the
royal right of judgment and of condemna-
1968 EGYPTIAN DECORATIVE ART
tion. This cornice seems, however, to
have been regarded as merely
royal in later times, and was
Fig. 197. freely used to adorn any royal
structure, even a wooden summer-house
(Amenhotep II.); or the uraei formed a
band around columns (Akhenaten), or ap-
pear as supporters of the royal cartouche
(P. 72), either plain (Ramessu
bio ae ,
winged meanest
el) ik: DA. FR. (122):
A symbolism closely connected with this
is that of the globe and wings. This cer-
tainly dates to the beginning of the monu-
’ @ 4 mental age, as it is seen above
200.—Khufue the figure of Khufu seated
before a table of offerings MG
on an amulet. In that in- 201.—Unas,
stance it is on too small a scale to show
SYMBOLICAL DECORATION 109
the details; but in the next dynasty it
appears above Unas at Elephantine, with
the globe flanked by two uraei and two
wings. What the symbolism of it was we
have no direct information. But when we
consider that the wings are those of the
vulture spread out, as it appears on the
roofs of the passages as a protecting and
preserving maternal emblem, and the uraeus
is associated with it, we can hardly view it
as other than the same idea of the power
of life and death, of preservation and de-
struction. But in this emblem it is not
the king who wields these powers, but Ra
the Sun, whose disc appears in the midst.
That the wings have thus the |
meaning of protection is shown gmr
by “the “lobe. avith.. drooping 742?
wings embracing the royal name, express-
ing the protection given by Ra to the
king, without associating the deadly or
110 EGYPTIAN DECORATIVE ART
punitive power of the uraeus. A curious
LEP form of this emblem which
was common in the early
ag Eetke 8. Have of the MVUIth dynasty
is with only one wing.
One of the most perfect and. beautiful
examples of the
es RS =
SSS SS=—=
LEE LIN
winged disc is on 204.—P. 72,
the temple of Tahutmes III., but it con-
tinued to be used down to the latest times
of Egyptian architecture as a lintel decora-
tion.
In the XIXth dynasty an addition to
the symbolism appears; the horns of a
ram are added to the wings; sometimes
without the uraei (Ramessu I., L.D. 111.
131), sometimes with the uraei (Ramessu
lf,- LD, «111, 204). These fams’ ‘horns
can hardly be other than those of the
ram-headed god Khnum, “the maker” or
“modeller” of men. The idea then of
SYMBOLICAL DECORATION Les
the wings and horns is that Ra makes as
well as protects; and where the uraeus is
added it implies that Ra is creator, pre-
server, and destroyer.
The vulture alone as the emblem of pro-
tection is frequently figured with out-
stretched wings across the ceilings of the
passages, particularly those of the royal
tombs of the XIXth dynasty. There is
perhaps no sight in the animal world more
imposing than one of these birds, stretched
out with a span of some nine or ten feet,
hanging in the air close overhead; it is
natural that it should have excited the
admiration of man, and not being hurtful
it readily came to be honoured as a type
of maternal care.
The scarab was another such typical
animal, rolling the pellet containing an egg
112. EGYPTIAN DECORATIVE ART
to a safe place where it buries it. Though
very common as an amulet for the living
and the dead, yet it is not often seen
in symbolical or decorative use otherwise.
With what idea the amulet was used we
do not know for certain. The scarab itself
is often figured as holding the disc of the
sun between its claws; and it is at least
possible that the symbolic idea of the
scarab as the maker or creator arose from
the burial of its ball being an emblem of
the setting of the sun, from which new
life will arise in due course. It occurs
with the wings extended and the disc
between the
Claws ase a
centre figure
205.—P. 81.
in the space
of a ceiling pattern (Neferhotep, XVIIIth
dynasty), and on the border of the cover-
ing of a shrine under Ramessu X., and
SYMBOLICAL DECORATION 113
is occasionally met with later in decoration.
The lion as a noble and royal animal
frequently figures in
the XVIIIth dynasty.
The Egyptians, with
their marvellous in-
: . 207.—R.C) cxxx,
stinct for taming every .
animal they could find, actually trained
lions or leopards to live as domesticated
animals, with the same _ sort
of allowed wildness as modern
hunting dogs. The lion ac-
208-—F- 78. companied the king in battle;
but in camp it lay down as peaceably as
an ox. It was fre-
quently carved on
the sides of the
thrones of the
XVIIIth - XXth
dynasties, and also Pet | ihre. tos.
seated in pairs, facing or backing, on the
2
114 ~ EGYPTIAN “DECORATIVE AR
temple walls, a usage reminding us of the
lion gate of Mykenae of the same age.
Some of the Egyptian divinities also ap-
pear as symbolic orna-
ments. The figures
of the goddess Maat
with spread — wings
adorned the ark of
Amen-ra under Ta-
210,—L.D. 111. 114.
hutimes IJ.; and in
earlier times similar cheru-
bic figures stand guarding
the name of Antef V. on
a, -Seatalo. Fig. our.
Hathor also appears on various objects.
A mirror handle carved in wood during
the XIIth dynasty has the head of Hat-
hor (P. 1. xiii.); columns with heads of
Hathor, crowned with a shrine occupied
SYMBOLICAL DECORATION 115
by a uraeus, are found introduced by
Amenhotep III. in his temples at El
Kab and Sedeinga, and were copied by
Ramessu IJ. at Abu Simbel.
The similar head of Hathor
was frequently made in glazed
pottery as a pendant in the
time of Akhenaten. And in
later times these Hathor
headed capitals became usual 212.—L.D. 1. 100.
under the Ptolemies, as in the well-known
case of the portico of the great temple at
Dendera.
Bes was one of the favourite popular
deities of the Egyptians; restricted to no
place in particular, every votary of music
and the dance patronised Bes. The little
statuette of a dancing girl with a Bes
mask on, besides an actual mask in cer-
tonnage, found at Kahun, show the popu-
larity of the god in the XIIth dynasty.
116 EGYPTIAN DECORATIVE ART
In later times his figure is frequently seen.
At Tell el Amarna ornaments for neck-
laces made in glazed pottery followed two
types of Bes, the god dancing with the
tambourine seen in side view, and the
earlier grotesque front view, with arms
akimbo. These familiar little figures con-
tinued to be made till late times; and in
the Roman age Bes was elevated to
architectural dignity on the dies above
the columns at Dendereh in the small
temple of the Mammeisi.
Another and more artificial mode of
symbolical decoration was by means of
the hieroglyphic signs. Having a mode
of writing in which a single mark could
express an abstract idea, it was possible
to adapt writing to a purely decorative
SYMBOLICAL DECORATION ey
design. Even with alphabetic characters
this has been done, as in the elaborate
crossing patterns of the earlier Arab
period in Egypt, in which no untrained
eye would see anything but a complex
ornament,
Four of the hieroglyphs most usually
worked into ornamental designs are
the axkh, a girdle, or symbol of life;
the ¢he¢, another form of girdle, with
longer bow-tie in front, which, as <4.
always identified with Isis, may have "
been a primitive feminine girdle,
the ankh being masculine; the “Zhe.
was, a stick of authority, or
symbol of power; and the
dad, a row of columns, or
= ears
£5 atid
symbol of stability.
As early as the Old Kingdom
we find wooden framings, or lattices,
ornamented with dad signs; and
118 EGYPTIAN DECORATIVE ART
this continued at least as late as Amen-
hotep II. The dad also appears
in what is probably copied from
_ pierced woodwork, in a relief
PAL. D.
“aoa at Qurneh of Ramesst I:
The combination of ¢hef dad uas, and of
ankh dad uas, is found in the XIIth dynasty
Vibra tihndii
on the wooden panels Fig. 218.
at Benihasan, appa-
rently carved in relief,
ofa jitter! (R.C. xciii.). Lhe same occur
similarly carved on the ebony doors of
Hatshepsut at Deir el Bahri. The
group begins to appear as an_archi-
tectural design early in the XVIIIth
dynasty, and continues down to Roman
times, especially on bases of scenes and
groups, thus forming a continuous border
of good wishes. The hieroglyphs, axkh,
dad, and uas, are all found on pendants for
necklaces, in the blue glazed pottery of
SYMBOLICAL DECORATION 119
the XVIIIth dynasty, and also combined
in one as a ring bezil. And the ¢heé
girdle tie of Isis appears repeated as a
pattern, probably of pierced woodwork,
along the sides of a shrine of Tahutimes
III. at Semneh, and on the base of a
couch in the birth scene of Amenhotep
III. (R.S. xxxviii.). As funeral amulets
the ¢het, dad, and ankh occur commonly,
but that branch is outside of the subject
of decoration.
Another hieroglyph often appearing as an
ornament is the sam, or symbol of union.
The origin of it is yet unexplained. It
certainly is a column of some kind;
it has a well-marked capital and an
abacus. The capital is formed much
like the palm-leaf capital; and the
stem is clearly bound round, and
must therefore be composite. This Khatra.
suggests that it might be a column of
120 EGYPTIAN DECORATIVE ART
palm sticks bound together, with some
tops left projecting for ornament. Such
might well be more conventionalised at
the beginning of Egyptian sculpture in
the IVth dynasty than the other kinds of
capitals; and the immigrant race came
from the region of the palm, while the
lotus and papyrus only were reached by
them in Egypt itself. The base is a
main difficulty to explain. It might be
conventionalised clods of earth, with two
curled-over side branches of the palm;
but it has been so modified that we must
await more evidence. In any case the
stem is formed of several parts bound to-
pil
IA TU
220.— Khafra.
gether, and hence it was
very naturally adopted as
ST
a symbol of union. It was
further grouped with two
plants, the stalks of which
were linked around it. It is always
SYMBOLICAL DECORATION 121
supposed that these symbolise northern —
and southern Egypt, and that the group
means the union of all the land. Still it
is yet uncertain what plants are intended
to be represented, though on the throne
of Tahutimes IV. they are clearly lotus
and papyrus: but the evidence is too late
to be of much value. This group was a
favourite decoration from beginning to end
of Egyptian history. At the beginning of
the XIIth dynasty an addition was made
by placing a figure of Hapi or the Nile
on each side of the group (Tanis i. 1,);
each figure holding one of the two plants.
As these figures were crowned, one with
the sign of south the other of north, they
point to the plants being emblems of the
south and north also. This group with
the figures is found as late as the XXth
dynasty (L.D. 111. 237). Another design
came into fashion during the great foreign
p22: EGYPTIAN “DECORATIVE. AKT
wars of the XVIIIth dynasty, represent-
ing two captives, one negro, one Syrian,
bound back to back against the sam, thus
it symbolised not only the union of upper
and lower Egypt, but also of the northern
and southern races outside of Egypt.
Later on, four or even six such racial
types are figured as bound together.
INDEX.
Amu dresses
Ankh girdle
Anthemion
Assyrian lotus
Barks of. gods
Basket-work screens
Bell capital
Bes, god of dance
Binding patterns...
Birds
Boat covers
Borders, spiral
i. “Jotis
Borrowed art
Brickwork panelling
re curved courses
C-sPIRALS,,.
Calf
Captives: ... et tis
» bound together
»» painted on sandals
Cavetto cornice ...
Chain of spirals ...
Chequer patterns
Circles, not usual oe
», not divided by six
Classes of ornament
Cobra
123
124 INDEX
Coils
Continuous spirals
Convolvulus decoration ...
Cornice, palm
Dad columns
Day 4.2 As
Decoration, classes of
Decorative instinct of Egyptians
Descent of patterns
Disc with spots .
» and wings ...
Duck
Enptess spirals
Feather patterns...
5 ieypes6f «3
3 . Avelts
Fleur de lys type...
Flower ornament...
Framing of wood
Fret patterns
5, Greek
GarLanps =
Geometrical ornament ..
Girdles anks and thet
Globe and wings
Graining of wood
Grape pendants ...
Greek fret
» lotus
» architecture, structural ...
INDEX
Guilloche
Hatuor head
am capitals...
Hawk
Hexagon pattern... a
Hieroglyphs decorative ...
3 symbolic
Hooks
Horns
IBex Bie
Imitation of wood
a stone
Isiemkheb, tent of
Kauun, guilloche at
Keft dresses
Khakfer pattern ...
Khufu
Lacuisu, slabs
Leatherwork
3 rosettes
Line decoration .
»» zigzag
Links
Lion
Lotus patterns
3 aed
5» capitals
3 . border
= plant
i26 INDEX
Lotus friezes tik
»» flower developed ...
», flower with pendants
» column
Maar goddess
Maeander
Minusinsk art
Mykenaean spirals
eA borrowed art
5 ox head
PP disc and spots
NaTuraL ornament
Network patterns
Nile figures
ORCHOMENOS
Origin of patterns
Ornament, classes of
Pato capital
»» hot common
», cornice
» column
Palmetto... -
Panelled pattern...
Papyrus
» cornice :
Patterns not re-invented...
Pectorals... a
Perspective, Egyptian
Plaiting patterns...
INDEX 127
PAGE
Ra, creator, preserver and destroyer III
Roll on buildings 97, 103
Rope borders 42
»» pattern i Qe
Rosette ... ay hy 58
Rushwork plaiting 14, 36, 93
Sam column a 18 <0)
Scale pattern really feathers 52
Scarab spirals 18
»» symbolical 112
Scroll pattern 17
Siloam tomb : £25 100
Sloping faces of buildings 96
Spiral or scroll 17
3 onpinet 2. 18
», sole patterns 24
» @arlier on scarabs... 28
» surface decoration 29
» with lotus... 30
» crossed lines 31
» quadruple... 31
»» quintuple ... 34
», developed to fret... 36
By =late 2
Subdivisions.
a “GOs tty , 20, 21, 23, 24H20, WO
» hooks EO; (20, 22
» links 19, 20521, -20;.42
ngs) .GaaLT EO Ba
» continuous 2,28
» endless Pes BS
128 INDEX
PAGE
Spiral false links ... Se oF, Aad, as. 26
» lop-sided ... 10% an Ae hie ae
Spots, not Egyptian... Lye i cok 560
Star patterns... 7a ae ‘is © 5S Sess
Stitch patterns ... ue Rie Boe «ef 35 7
Structural ornament... nee tle 1 TO, 8
Styles, characteristic ... = is ee 8
Symbolic ornament... is ao II, 106
Tecpel Amatna ’ (29, $4, 5.55 $8,713, 75380, 87, 196
Terms for spirals ; ; 20
Thet girdle ae ie Bs oat aa ea
Thistle decoration oe he ae ee Some
Torus, origin of ... as ek AS sia 30%
Uas sceptre coe aie ee ta re 7!
Uraeus ... ae or eas sen ae WOz
V PATTERN as Re aes ee aN ee ts
Vine patterns... wv Pe Fe ie FQ
Vealture:... ahi ete Rs oe 87, Whit
Wave borders... i re i wih se, aE
Wavy line, rounded ta = 2, Lar 9 ko
Weaving patterns is i ne wrk, Be
Wings symbol of protection... oe wa THOSE
Wood, imitation of 3) ne a i 89
Wooden framing... Be a ss wis © 79d.
Wreaths ... ee ae ee eee a
ZiczaG lines rh ae ee fet ney) SES
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FICTION 37
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39
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40
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of Novels by popular authors at the price of Sixpence,
The first numbers of ‘THE NOVELIST’ are as
the average Six Shilling Novel.
follows :—
I. DEAD MEN TELL NO} TALES.
Hornung.
Il. JENNER BAXTER, JOURNALIST; By Robert
arr,
III, THE INCA’S TREASURE. By Ernest Glanville,
IV. A°’SON OF THE STATE. By W. Pett Ridge.
V. FURZE BLOOM. By S. Baring-Gould.
VI. BUNTER’S CRUISE. By C. Gleig.
VII. THE GAY DECEIVERS. By Arthur Moore.
VIII. PRISONERS OF WAR. By A. Boyson Weekes.
IX. Out of print.
X, VELDT AND LAAGER: Tales of the Transvaal.
s By E. S. Valentine.
XI. THE NIGGER KNIGHTS.
Connel.
XIT. A MARRIAGE ATSEA. By W. Clark Russell.
XIII. THE POMP OF THE LAVILETTES. By
Gilbert Parker,
XIV. A MAN OF MARK. By Anthony Hope,
XV. THE CARISSIMA. By Lucas Malet.
XVI. THE LADY’S WALK. By Mrs. Oliphant.
XVII. DERRICK VAUGHAN. By Edna Lyall.
XVIII. IN ite MIDST OF ALARMS. By Robert
arr,
By E. Ww.
By F. Norreys
Each number is as long as
XIX. Hrs GRACE. By W. E. Norris,
XX. Dopo. By E, F, Benson.
XXI, CHEAP JACK ZITA. By S. Baring-Gould.
XXII. WHEN VALMOND CAME TO PONTIAC, By
Gilbert Parker,
XXIII, THE HUMAN BOY. By Eden Phillpotts.
XXIV, THE CHRONICLES OF COUNT ANTONIO.
By Anthony Hope,
XXV. By STROKE OF SWORD,
Balfour.
XXVI. KITTY ALONE. By S. Baring-Gould.
XXVII. GILES INGILBY. By W. E. Norris.
XXVIII. URITH. By S. Baring-Gould.
XXIX. THE TOWN TRAVELLER,
Gissing.
. MR. SMITH. By Mrs. Walford.
. A CHANGE OF AIR. By Anthony Hope,
. THE KLOOF BRIDE, By Ernest Glanville,
. ANGEL. By B. M. Croker.
XXXIV. A COUNSEL OF PERFECTION. By Lucas
By Andrew
By George
Malet.
XXXV, THE BABY’S GRANDMOTHER, By Mrs,
L, B. Walford.
XXXVI, THE COUNTESS TEKLA, By Robert Barr
Metbuen’s Sirpenny Library
THE MATABELE CAMPAIGN. By Major-General
Baden-Powell.
THE DOWNFALL OF PREMPEH. By Major-General
Baden-Powell.
MY DANISH SWEETHEART. By W, Clark Russell.
A ie ROAR OF THE SEA, By S. Baring-
ould,
PEGGY OF THE BARTONS. By B. M. Croker.
THE GREEN GRAVES OF BALGOWRIE. By Jane
H. Findlater.
THE STOLEN BACILLUS. By H. G. Wells.
MATTHEW AUSTIN. By W. E. Norris.
THE CONQUEST .OF LONDON. By Dorothea
Gerard.
A VOYAGE OF CONSOLATION. By Sara J. Duncan.
THE MUTABLE MANY. By Robert Barr.
BEN Hur. By General Lew Wallace.
SIR ROBERT’S FORTUNE. By Mrs. Oliphant.
THE FAIR Gop, By General Lew Wallace.
CLARISSA FURIOSA. By W.E., Norris.
CRANFORD. By Mrs, Gaskell.
NOEMI, By S. Baring-Gould.
THE THRONE OF DAVID. By J; H. Ingraham.
ACROSS THE SALT SEAS, y J. Bloundelle
Burton,
THE MILL ON THE FLOSS, By George Eliot.
PETER SIMPLE, By Captain Marryat.
MARY BARTON, By Mrs, Gaskell.
PRIDE AND PREJUDICE. By Jane Austen,
NORTH AND SOUTH. ‘By Mrs. Gaskell,
pee FAITHFUL. By Captain Marryat.
HIRLEY. By Charlotte Bronte,
FAIRY TALES RE-TOLD. By S. Baring Gould.
THE TRUE HISTORY OF JOSHUA DAVIDSON, By ,
Mrs, Lynn Linton.
ieee, Ee tan
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